Guest
Technical
Column

Playing BBb Tuba in a CC Tuba World
By James Jenkins

Flashback

 It's November, 1982. Birmingham, AL. I had just successfully completed the first round of my first professional audition. I was softly warming up with "The Ride..., " when I noticed several of the other players watching me. Finally, one of them approached and asked, "What kind of horn is that?" "A Marzan," I replied. "Is it BBb?" "Yes." My answer seemed to spark some interest, a little bewilderment, and much amusement. Although my teachers, Constance Weldon, Abe Torchinsky, and John Stevens, had all suggested that I would switch to CC in the near future, this was the first indication to me that, in this era of auditioning players, approaching the orchestral world with the BBb Tuba would be perceived as different. I made a mental note to price CC Tubas on my return to Miami. But, as fate would have it, later that day I was offered the Principal Tuba position with the Alabama Symphony. Too late to switch to CC, my journey as a BBb Tuba player in the CC Tuba orchestral world had begun.

Register & The Literature

 I often hear the comment that playing BBb makes it easy to play in the low register, therefore easy to perform the literature that demands accuracy, clarity, and power below the staff - what Connie Weldon calls "the meat-and-potatoes register." In my experience, this is not necessarily true. I find that it requires the same time, patience, and tenacity to learn to perform and enjoy the music in Prokofiev's "Fifth...," Hindemith's "Symphonic Metamorphosis," or Respighi's "Fountains..." on BBb as it does for my colleagues on CC.

It is true that the valve combinations may be more inviting on BBb for some passages, but it is also true that "The Ride" is "The Ride," and possesses significant technical and musical challenges for any player, BBb or CC. Yes, I often think that it would be nice to have the extra step in the upper-register when I'm staring at "Die Meistersinger," but it all evens out in the end!

Sound

 I am an ardent believer that your sound is determined by your concept, how you breathe and use your air, and how you articulate. The idea that "the BBb Tuba sounds like a band instrument" has no basis in fact. I'm sure that it does sound like a band instrument when you are playing it in a band; but depending on the players, any musician would be hard-pressed to tell the difference in a back-to-back comparison (as happens in auditions). The orchestra occasion that I think lends itself better to the BBb Tuba is the one in which you are performing with the Euphonium (or Tenor Tuba). When performing together in works like Strauss' "Ein Heldenleben," or Holst's "The Planets," the combination of the BBb Tuba and Euphonium - both being BBb instruments - can produce a very satisfying color of sound. On several occasions, Euphonium player have pointed out to me how much they enjoyed the blend of sound that we accomplished together.

 James Jenkins is entering his second season as Principal Tubist with the Santa Fe Opera, and presently serves as the Principal Tubist of the Jacksonville Symphony Orchestra (Jacksonville, Florida), a position he has held since 1995. He has recently completed his 16th season as performer, teacher, and Director of Artistic Personnel with the Eastern Music Festival in Greensboro, North Carolina.

  A 1983 graduate of the University of Miami, Mr. Jenkins served as the Principal Tubist with the Alabama Symphony for 10 years, while holding faculty positions at the University ofAlabama (Tuscaloosa), The University of Montevallo, Samford University, Birmingham-Southern College, and the University of Miami (1985-1986). After leaving Alabama in 1993, Mr. Jenkins was engaged as performer and Personnel Manager with the Naples Philharmonic for two seasons.  Known also as a Chamber Musician and Soloist, Mr. Jenkins has performed and recorded throughout the U.S. as a founding member of "The New Brass Ensemble," a group comprised of five of the top African-American classical musicians in the country. As a frequent solo performer, he has been heard in numerous recitals, concerto performances with orchestra, and live radio broadcasts.